Music Reviews

Van Coke Kartel – Wie’s Bang 4/5

I assume if you’re reading this, you’ve read my article on VCK, and expect only praise. In 2009, I said the second, and unsuccessful, album was the best release that year. Fortunately, I haven’t been wrong much since, thanks to experience. Wie’s Bang comes in two phases of enjoyment: the first is an f-you rock noise experience. The second comes when you’ve managed to resist the first, and listen to the lyrics. But unlike any VCK or Fokof album, it’s got balance. Not too much of anything, only when it needs to. Overall, the sound comes across as a whole. Production is smooth, levels are inverted between vocals and guitar, especially when Jedd let’s slip a bit of sweep picking – producer Theo Crous’ metal guitar roots have clearly come in handy. Several guitars were used, and we can safely assume Jedd probably rummaged through Theo’s collection. Don’t think it’s a guitar album though. Jason has ‘flavourised’ the token ka-doef beat, and through various accents added soul – during Jack Parow’s collaborative duo, he exchanges 4-to-the-floor for an irregular trip-hop beat, suggestive of Wu-Tang Clan but still very much VCK. Any criticism? Yes, Wynand’s chewy bass twang is missing. The album is currently being mastered in UK, the launch date remains uncertain, because quality takes time. The boys aren’t messing around – so be patient.

Dear Reader – Idealistic Animals 3/5

Well, seeing as we already have Pop philosophy, it makes sense to see some Philosophy Pop. At least, that’s what a quaint, punny reference to controversial French thinker Jacques Derrida in your band’s name – along with a huggably academic album title – seem to announce. Thankfully, the album’s shiny, playful interiors dispel any kind of cynicism regarding the waving of flags and eagerly raised hands in the lecture hall. Cherilyn MacNeil’s bright, companionable voice guides us through a friendly menagerie of songs concocted around imaginary animals, with lyrical and melodic free associations bounced off their cartoony hides. Welcome echoes of Sufjan Stevens’ heroic preciousness and chirpy, rhythmic optimism are flecked through ‘Idealistic Animals’ instrumentation, but Dear Reader seem exactly aware of their sound, and where they want it to take us. Lazily hip-wagging, smiley stuff.

Bjork – Biophilia 5/5

Joyous, naughty, beautiful, conniving, brave, restless. That’s just her eyes. Bjork is also immensely, ridiculously gifted – perhaps her only quality to outshine her brilliance is her appetite for Fun. Following the over-the-top abstractions of 2004′s voxperiment Medulla, and the mild slump of 2007′s pan-cultural Volta, Biophilia sees her back at the dazzling heights of 1997′s Homogenic and 2001′s Vespertine. The album is Bjork’s take on the universe. All of it. From Viruses sweetly cooing mating calls, to Blackholes throbbing, to the Origin of Man (it involves shiny, black eggs..) In keeping with her technophiliac glint, Bjork has decided not just to bring out a hugely satisfying release, but to simultaneously launch history’s debut App-album. Fans equipped with iPads can interact with (remix, make videos for, make friends with) every song on the album. Oh, and one of the Apps features David Attenborough, yes him of the “and here comes the lioness now, her cubs close to her side, as…” doing a BBC-style introduction to the album and explaining its relationship to life on earth. Why? Because Bjork is bonkers. And we love her for it.

Tom Waits – Bad As Me 4/5

Waits just gets better. Age becomes him. The roughening of rasp; slow ripening of facial crags; the drying of leather; the cough of ancience. The decade inaugurating the 21st century had been Waits’ brilliant best: There were the junkyard skronks and grimy alley grunge of 1999′s Mule Variations and 2004′s Real Gone; the lush melancholia and ominous, growled mythologies of 2002′s respective Alice and Blood Money. Then there was 2006′s triple-disc behemoth Orphans: Brawlers, Bawlers and Bastards, the third disc occupying his kaleidoscopically eccentric tales and fibs and oddball facts. He topped his reigning decade off with 2009′s riotously majestic live album Glitter & Doom. Two years later and Bad As Me kicks off like he never stopped, with opener Chicago’s frantic horn-chugged locomotive implying that the new album is misspelt. And Bad-ass it is throughout its 14 tracks. All swagger and swoon and roar. On Satisfied he even takes on The Stones, smugly informing: “Noww Mr. Jagger/ and Mr. Richards/ I will scratch/ Where I’ve been itchin’..’ The entirety of Waits’ motley vocal entourage is at play here – the brawlers, the bawlers, the bastards, and then some. Satisfaction all round.

Chickenfoot – III 3/5

AC/DC meets ZZ Top-styled supergroup Chickenfoot’s 2nd album is two steps in the right direction (as implied in the title). Kicking off – roaring off – with the lurching Southern Rock of Last Temptation, the band is clearly more connected with each other’s abilities and musical natures than was the case on 2009′s self-titled debut. So-called ‘supergroups’ have often collapsed simply because they were studio wet-dreams, were not organically formed. Chickenfoot was born out of a chemistry discovered during jamming, and on III this chemistry is making itself known. Anthony and Smith’s rhythm section is both tight and thump-straight-ahead, anchored in Rock’s propellant heart, but are more than able to mix things up with some Rhythm & Blues and Soul elements. Really this is Hagar and Satriani’s show. Satriani is all over the place – without stepping on any toes – casually juggling various tropes of the Rock, Metal and Funk canons with intense, economic riffs and typically blistering and fun solos, while Hagar delights in having new, stimulating music off of which to riff his legendary vocal chords.

Chris Letcher – Spectroscope 3/5

Chris Letcher – perhaps best known to local audiences for his wonderful partnership with Matthew Van Der Want in the late Nineties, resulting in cult albums Low Riding and Bignity – has been stealthily building a songwriting career in London. It is telling that he is also involved in film composition (he scored Claire Angelique’s My Black Little Heart, had some songs in the recent Bang Bang Club, and is currently completing BBC Film and Television productions) – his music is too complex and nuanced for Pop, but have the narrative reach of the cinematic. Spectroscope is named after the album’s deliberately eclectic spread of songs – each a genre or stylistic atmosphere of its own. Following the dark, moody, acclaimed Frieze (2007) (which entered the Top 20 of US College Radio charts), Spectroscope is like stepping into a psychotropically lit forest – sensuous details humming and leaping. The album’s canvas oozes in rich orchestrations, from digital to Classical. Somehow reminiscent of David Byrne in its surrender to the All of emotional scapes and musical possibilities, this is parallel-universe Pop, Pop that celebrates and explores the entirety of the human range.

Derek Gripper – The Sound of Water 3/5

Derek Gripper is known for his in-depth studies and re-imaginings of both salient and obscure Capecentric folk musics, from Vastrap and Ghoema to more hybrid regional dialects and pidgin musics. He is also known as an advocate of understatement, his musical phrases often couched in, highlighted by, or else just enjoying the company of, silence. Silences of various persuasion. Gripper understands silence. I won’t be surprised if he has several personal words referring to its various shades and moods, like the Ennuit have for snow. 2011′s The Sound Of Water is more of a departure, or a step to the side, than its title implies. For one, Gripper’s music is less pensive than before, there is a shimmering rhythm behind even the placid cuts. It also draws on a new stylistic palette, alternating original compositions with reworkings of compositions by Brazilian master Egberto Gismonti. But it is the SOUND above all that is new; it is fullsome, voluminous compared to his usual timbres. Good stuff – the sound of Derek Gripper letting his hair down.

Gil Hockman – Too early in the journey 3/5

Hockman’s debut solo album is blanched in misery. And it’s good. The album unveils as a kind of demented songbook – three originals are carelessly (carefully?) sprinkled between 11 covers. Said covers range from All-American Folk hero Woody Guthrie, to Bob Marley, to Kerkorrel, James Phillips and The Handsome Family to The Lemonheads and, wait for it, Snoop Doggy Dogg. Readers intimate with the SA underground (no pun intended) will immediately recognize Gil Hockman as one of the founding members of discerningly celebrated outfit The Buckfever Underground. Hockman exited the group in 2009, to strum his way into, well, this. And it is a songbook, one made peculiarly his. From the defeated lament instilled into Snoop’s lyric “I got my mind on my money/ And my money on my mind”, to Seffrican geography slipped into Guthrie’s Americana classic, to Marley’s Concrete Jungle re-cast as epitome of post-Y2K losthood, Hockman makes these classics his own sad creatures. Elsewhere, as on Kristen Hersch’s Your Ghost, his droll, near-morose arrangements focus one’s attention on newly painful lyrics. What Hockman succeeds in is capturing the loss of centre, the ghost of self, of our current, cruddy, space in Time.

The Subways – Money and Celebrity 2/5

The Subways are an English trio although you wouldn’t think so on first listen should you not know the band. Paying homage to a sound made famous in the 80’s by New York bands such as The Ramones, Money and Celebrity is a 12 song collection of upbeat post-grunge, rock ‘n roll that does not take itself too seriously and is aimed squarely at the carefree young 18 to 20-something adult. Song names are a clear indication as to the subject matter such as It’s a Party, We Don’t Need Money To Have A Good Time, I Wanna Dance With You, Like I Love You, amongst others. This is a straight up party indie rock album. Big, phat guitar riffs accompanied by the catchiest of choruses, the boy-girl vocal dynamic of guitarist Billy Lunn and bassist Charlotte Cooper makes for a very poppy, sing-along combination; one that will certainly have you humming along in a party mood. If this review does not seem to be in-depth enough for you, well that’s because neither is the music. With no track longer than 3 and a half minutes this is quick, spontaneous easily forgettable pop-rock but herein is its charm. The Subways are purely out to have fun and take you with them on that ride. Something they do pretty well.

Pink Floyd – A Foot in the Door (The Best of Pink Floyd) | Jethro Tull – Aqualung: 40th Anniversary Special Edition 4/5

Just in time for the festive season and all that manic Xmas spending arrives two packages from legendary bands from yesteryear. First up is a Pink Floyd, best of compilation and to be honest when I first looked at this I couldn’t help sighing with the thought of label execs milking yet another back catalogue from a famous band. Of course the story behind this is that ‘A Foot in the Door’ is actually a part of the ‘Why Pink Floyd’ 2011-12 remastering campaign and this disc is aimed at those slightly less obsessive fans not quite ready to buy their entire release collection, albeit remastered, happy to settle for a ‘best of.’ Truth is this 16 tracker is a reminder of just how damn good PF were and is a thoroughly engrossing listen. Perfect for fans, ideal as a Xmas gift and a great buy if you’re too young to know their music but old enough to want to discover the legend that is Pink Floyd. Another legendary band who has in fact toured here several times is Ian Anderson’s Jethro Tull. Aqualung was their 4th studio album and proved to be the bands breakthrough release in 1971. Another smart label execs marketing move this; I just hope Anderson is receiving royalties from the repackaged 40 Anniversary edition. Anyway cynicism aside this two-disc release includes the original album remastered and a second disc containing 14 additional songs recorded in 1970 and 1971. Re-listening to the original songs (now in stereo) reminds one why it was such a definitive album, but to be honest CD2’s ‘out-takes’ are just that; out-takes that were not really worthy of release and although there are some good moments amongst these 14 songs they do not compare to the album that was Aqualung. Devoted fans will no doubt love it.

Album Review: Terminatryx

We thought it’d be interesting in light of the release of their Remyx v1.0 to take a retrospective look at Terminatryx’s debut. Positively received back in 2008, the record was rather unique in a local context – dark and serious and industrial – really something only Battery 9 had previously had any success in plying to the South African public. Terminatryx did away with Riekert’s oft tongue-in-cheek stance and rather served up a solid collection of heavy numbers. These twelve tracks don’t fuck around. They all get straight to the point, both conceptually and musically. They are designed quite clearly to be indulged in at high volumes and in close proximity to some form of leather or PVC. Industrial music doesn’t generally veer far from it’s well-pummelled path of twisted metal timbres and thrashing guitar tones, so the mark of quality is found in clever utilisation of the established formula. Terminatryx, more often than not, pull it off. Catch Terminatryx launching the Remyx album soon, streaming live across the web. Check their website for info as to when and where.

Review: James Rose-Mathew

Read the Review of the Remix Album

Album Review: The Dirty Skirts – Lost in the Fall [4/5]

The Dirty Skirts – Lost in the Fall [4/5]

When lead vocalist, Jeremy de Tolly, was interviewed by Muse Magazine he intimated that fans would be in for a surprise when Lost In the Fall dropped. He wasn’t lying. As a first test I played this, their 3rd album, to several knowledgeable SA music fans to a) see their reaction but b) – and of more interest to me – to see if they recognised who the artist is. Nobody could guess upfront – it took a few listens to various tracks for the bewildered sort of half guess-not-too-sure suggestion of “is this the new Skirts album?” So what does it sound like? Heavier! From the opening chords of Rebellion the statement of intent is one of a heavier, more complex sound. Let’s face it; the Skirts were our very own Indie poster boys for a while. Unfortunately all the influences they seemed to draw on when they burst onto the scene were already going out of vogue, so what to do? Go back to the drawing board and re-create your sound? A bold step for any band but one that sees them come out of it with something far meatier, far more layered and meaningful – a sound they can now call their own although distinctive influences (Radiohead specifically) do shine through from time to time. Witness We’re All Gonna Die, a kind of Guns and Roses’ish type vocal delivery or You Are The Machine a detuned ode to how our minds are controlled. But it’s not all on the heavy side; there’s still a hint of familiarity on tracks like Evil Comes – a clear contender for a radio single with its upbeat happy chords and strong radio-friendly hook – but even here de Tolly manages to add a really interesting twist to his delivery on the chorus. Lost In The Fall is better than anything the band has done before, in my opinion, and I think other SA music critics may agree. Now let’s hope the fans like their new sound!

REVIEW: Dave Mac

Album Review: Machineri – [3/5]

Machineri – [3/5]

Every so often a murmur starts and then turns into a low rumble, eventually becoming a collective buzz of excitement when a band begins to make its mark in the music showplace called live gigs. This buzz usually begins with tastemakers and music journos looking out for something new and original, or at the very least an artist or band that smacks of originality, creativity and sincerity. machineri is one such band that has had this buzz a-going ever since their first gigs. Their stripped down bluesy rumble fronted by the sexy (and reportedly very moody) Sannie Fox, and accompanied by the disheveled appearance of Andre Geldenhuys captured the imaginations of many a rock ‘n roll chin-stroker in Cape Town. Attendance at their shows has grown as has their reputation culminating in this, their self-titled debut album. machineri – the album – consists of 11 tracks and I should imagine will hold little surprise to ardent followers of their gigs. Two things struck me about the album though; Sannie’s vocal timing tends to meander across music bars quite effortlessly, which can take some getting used to on the first few listens, and her vocal range is also quite limited which is a little unfortunate since this stripped down blues-rock (I’m thinking Jake White or Robert Plant who do it so well) really needs very strong and diverse singing to carry the songs. Nitpicking aside I really, really like machineri and have found myself intrigued by the album which simply gets better with each listen.

REVIEW: Dave Mac

Album Review: Red Hot Chili Peppers – I’m with You [3/5]

Red Hot Chili Peppers – I’m with You [3/5]

In the time since their last album, Stadium Arcadium, the Chili Peppers’ maverick guitarist and song-smith, John Frusciante waved goodbye and was replaced by Josh Klinghoffer, while bassist, Flea, studied music theory. I’m With You is a mixed bag of competent but tired funk grooves occasionally interrupted by interesting stylistic departures. Frusciante’s absence is felt in some patchy song structures and a lack of substantial hooks. Opening track, Monarchy of Roses is a building ominous tom-beat, fuzz guitar dirge, periodically interrupted by a ridiculous disco-funk chorus, ruining the building sense of excitement. Klinghoffer does a mean Frusciante guitar impression when needed but also brings a more textured approach as heard on stand out track Police Station. Keidis, as usual, lets the team down, as on Factory of Faith, yet another disco workout, where he literally sounds like Baby Cakes, the Brad Neely created web-cartoon man-child. A highlight is Brendon’s Death Song, one of the only songs where everyone, including Keidis, seems focused and coherent, as it builds to anthemic proportions. I’m with You is another overly loud, over-compressed comeback album (remember Californication). It is not an instant classic but it does surprise on occasion and shows hints of what this legendary band was.

REVIEW: Nic Roos

Album Review: Lenny Kravitz – Black and White America [2/5]

Lenny Kravitz – Black & White [2/5]

On Black & White America, Kravitz explores race issues to the happy bubblegum disco-funk sounds of his childhood. While Kravitz (who wears his influences liberally on his sleeve) has always sounded very retro, he has never before immersed himself in the sounds of one era so singularly and to the point of caricature as here. Horn and gang vocal stabs pepper the unashamedly cartoonish 70’s funk of the title track, in which Kravitz recounts the interracial marriage of his parents and the racial hostility they endured from others. Liquid Jesus sounds like early Michael Jackson with lyrics as creepy as latter day Jackson (‘Liquid Jesus wash me over/Wash me down’). Whether this musical stereotyping is there to offset the weighty topics is unclear, but, even as Kravitz remains transcendently hopeful throughout, the effect is sadly comical. On the ridiculously titled Boongie Drop we are subjected to an equally ridiculous rap by Jay Z as DJ Military brings us firmly back into the 21st century. There are no obvious standout tracks and I get the sense that he is in a happy space in his life and with this album is more concerned with painting a picture with the sounds of his early childhood than setting the mainstream music world on fire with retro-inspired hits. Definitely one for serious fans only.

REVIEW: Nic Roos

Album Review: Arcade Fire – The Suburbs [4/5]

Arcade Fire – The Suburbs [4/5]

My first encounter with Arcade Fire this is. I relegated them to the sonic cataract of so many cleverly/arb-named Alternative/Modern Rock outfits circa, well, the latter 90’s up till now. I’m glad to admit I’ve been superficial in my rejection of bands who seemed all hype, glossy cover and nil content. Arcade Fire’s The Suburbs, their third, turns out to be a solemn sprawl of beauty. And a sprawl it is – a 16 track epic, the album is a throwback to an earlier age; in more senses than one. A cohesive, if meandering, whole rather than a collection of songs which just happen to be released together, The Suburbs is a stirring evocation of a very specific reality. What it so uncannily captures is the urban biome of 80′s/90′s suburbia; specifically as experienced by young, not-quite adults hungry to escape the polite hell of picket fences and lost, well-intending parents. The melancholic stir of possibility hinted at by empty Sunday breezes; the buzz of heading out to a live gig with your mates; the hungry promise of the open road. Already rewarding on first listen, The Suburbs promises as-yet-unheard beauty awaiting revisitation.

REVIEW: Mickdotcom

Album Review: Tuneyards – WHOKILL [4/5]

Tuneyards – WHOKILL [4/5]

NICE! Always nice (especially in today’s fractured Information-overload hub) to encounter a new artist or group fully arrived – fluffing their tail feathers like they OWN it, coz, like, they Do. The lazy grin of roots Reggae and Dub-step informs ‘WHO KILL’s heart, but its numerous limbs unfurl hungrily into diverse sonics. Delicate pinches of retro-Soul croon and Billie Holiday mew (miao? Whatever – those tender, sparkly feminine vocalisations) are sprinkled like magic ingredients into the busy-body, polydextrous festival of their sound (a nod to their apt name). The unlikely harmony of snipped, tickled and brokenly related elements recalls the stubborn and gifted musicality of Gang Gang Dance, while their scruffily buoyant momentum evokes the sun-drenched naughtiness of The Avalanches. Damned if the band wasn’t raised on a steady diet of the most audacious and brilliant of mixtapes. Whatever their intake, Tuneyards wield a gifted metabolism. Their exhalations – at least as evidenced on WHOKILL – betray a mastery at once giddy and snug. This is N-I-C-E reconfigured to spell Deliciousness.

REVIEW: Mickdotcom

Album Review: The Horrors – Skying [4/5]

The Horrors – Skying [4/5]

With the release of their previous album Primary Colours, produced by Portishead’s Geoff Barrow, The Horrors surprised and astounded critics who had cast them as faux-Goth posers. The album, clever and memorable, was steeped in an 80’s alternative aesthetic that spanned Shoegaze, Krautrock and Goth-pop. Skying is a slow building sonic haze that the band produced themselves and continues their love affair with 80’s Goth-rockers The Chameleons and 70’s kraut-rockers Neu! Opening track Changing The Rain is a wash of hazy synths and a skipping Madchester beat over which singer, Faris Badwan, croons dreamily and half-intelligibly. The dream continues with first single Still Life, another measured synth ballad that evolves slowly with expanding beauty into something quite anthemic. I cannot help but be reminded of Simple Minds. The album’s slow build pushes towards its centrepiece, Moving Further Away, a hypnotic krautrock brew that has Badwan chanting ‘Everybody moving further away/See you where the light ends’. It climbs ever higher to a Sonic Youth-like noise fest that ends suddenly and leaves one exhausted and smiling. While their influences are varied but obvious, The Horrors manage to combine them in a way that makes Skying an intoxicating sonic blur yet seemingly filled with purpose.

REVIEW: Nic Roos

Album Review: The Rescu [3/5]

The Rescu [3/5]

I read somewhere that The Rescu are a stadium rock band; that this is indeed the sound they are going for. It’s a somewhat bold attempt considering the opportunity to play a ‘stadium rock’ gig will be few and far between in South Africa. I’ve also heard (or read, I can’t remember) that they model their sound on U2. Anyway preconceptions aside, I’m not really hearing either. Yes the production on this, their debut album, is large and yes if I really, really tried I could probably hear some U2 guitar riffs circa 1980-something in here somewhere but really? U2? Stadium rock? It’s a bad M.O. for a band that should prefer to simply stand on their own two feet as a straight up rock band. ‘Cos that is what The Rescu are. A modern day rock band. Now if I’m to be critical, and let’s face it that’s what I am paid to do, then this self-titled album is a tale of two halves. The album starts of very promisingly with an upbeat rocker, Miracle, nice and fast and good hooks. In fact track two, Work Things Out, followed by I Did It For You and Refugee as well as ballad Sharpeville all have merit and kept me interested. But by track 6, Beautiful Life, one gets the feeling you’ve heard their repertoire. Not to say the rest of the songs are weaker; just that the same compositional tricks are being reused, if that makes sense? So, not a bad debut – and I suppose there is a post-modern U2’ish type rock sound going on – The Rescu should gain good radio airplay with their catchy modern adult rock sound.

REVIEW: Damien Albetto

Album Review: Terminatryx – Remyx v1.0 [4/5]

Terminatryx – Remyx v1.0 [4/5]

This record has been three years in the making – a complete suite of remixes of the band’s acclaimed eponymous debut – an ambitious project for any South African band, especially so in such a niche scene as the one that Terminatryx occupies. They’ve done an impressive job of pulling in a choice stable of acclaimed artists and intriguing guests, both international and local, to pick apart, destroy and resurrect their catalogue. The album bolts out of the gates with a quartet of head-crushing 4-to-the-floor numbers, each of them seemingly trying to pulverize the preceding track and leaving little room to breathe. iRONic then switches pace neatly with an effortless interpretation of Sleepwalkers that calls to mind Rob Zombie. From here on out the record charts a host of interesting territories, for the most part successful sonic adventures – an acoustic rendition, psytrance spinoff, electro and a rather mystical chill-out number by Mr Sakitumi. The only truly sour moment is NuL’s somewhat insipid version of Up To You, completely ruined by a daft synth warble that ponders throughout. There are three bonus tunes of which only the cover of Animotion’s Obsession I felt added value to the record. All in all a solid release – I recommend a listen to anyone not scared of surfing the intriguing fringe of South African music.

To read the Full Interview with The band and check out the Video - Click Here

REVIEW: James Rose- Mathew

Album Review: Rob Zombie – Hellbilly Deluxe II [4/5]

Rob Zombie – Hellbilly Deluxe II [4/5]

Hellbilly Deluxe II is the sequel to Zombie’s 1998 multi-platinum solo debut and sees a stylistic return to that album’s shock-rock industrial stomp. Featuring his all-star touring line-up, John 5 (Ex-Marilyn Manson) on guitar, Piggy D on bass and Joey Jordison (Slipknot, Murderdolls) on drums, the album shows a return to form for Zombie as it unfolds with a dark B-movie sense of fun. John 5’s presence is felt strongly throughout, who injects Zombie’s classic guitar grind with some frenetic flare as on Devil’s Hole Girls and the Big Revolution and Werewolf Women of the SS, named after the faux trailer Zombie directed for Grindhouse, which including a tongue in cheek surf-rock solo by John 5. Listen to Virgin Witch. It contains a catchy riff unintentionally lifted wholesale from stoner-metal band The Sword’s Freya. Zombie nobly apologised to The Sword for his oversight. A bonus DVD features videos for Mars Needs Women and a live version of Alice Cooper’s School’s Out (featuring Cooper himself) as well as Transylvanian Transmissions, their 2010 tour ‘documentary’, directed by Zombie himself, that’s really just random home-movie tour footage with horror soundtrack. While there are no obvious hits among these 11 tracks it is by far his most consistent album to date.

REVIEW: Nic Roos

Artist Review: Nate Maingard By Rachel Briant

Nate Maingard - Indie, Acoustic, Folk, Singer/Songwriter
I met Nate Maingard at one of Kommetjie’s few coffee shops, Expresso.Kom. The Scarborough resident was dressed spiffingly as usual and as he takes a seat across from me his nose-ring glints in the late afternoon sun.

‘I am really busy at the moment, working hard, getting the word out there,’ he says.‘This month in particular, a lot of different things have been bearing fruit. People in the crowd that I don’t even know are singing along to my songs – and I’m like ‘Where’d you people come from?!’’

Nate only started working as a professional musician around 5 months ago, but has been involved in music for a very long time. He began playing guitar at 14 years and has been interested in songs, specifically lyrics, since he was a small child. Since then Nate has busked in the UK as well as running an open-mike night in Camden Town.

‘Singing always came first, but now I have created my own distinctive style of guitar playing,’ he says.

Earlier this year Nate quit his job in the health food industry to follow his career as a professional musician. ‘I used to think ‘What is music? Just an ego thing!’’ he says. ‘But then I realised that living my passion and following my dream was the most important thing I could do with my life.’

Above all, Nate Maingard is a brilliant lyricist. Listening to his album I am enthralled at his ability to string words together in a way that is altogether intriguing, imaginative and chilling. Combined with sensitive guitar chords, it’s enough to give you spine tingles.

‘Music is one of the most powerful art forms in the world for affecting instant emotional response in people,’ he says.‘I wanna tell the inner archetypal monologues which we all share: not feeling like we fit in, overwhelmed by the pace of today…I like to encourage people to slow down and appreciate life, appreciate ourselves and to appreciate ourselves in one another.’

Nate’s dream to start working together with NGO’s has already starting taking shape: he has just finished a song he wrote specifically for the local anti-Fracking movement.Nate is planning a summer tour in Europe, but for now will continue to focus on building his name locally.

To listen to and buy Nate Maingards album ‘The Wild Land’ , CLICK HERE
Catch Nate’s next at his next gig - Cape Farmhouse’s on Sat 17 September.t. For more info find him on Facebook

WORDS: Rachel Briant

IMAGES: Nicky Newman

Review: Oppikoppi Festival 2011

Event Review: Oppikoppi Festival 2011

Attending Oppikoppi is somewhat akin to being mauled by a feral creature. You wind up all kinds of exposed. To dust, grit, blood and numerous other bodily fluids. There is noise, lots of it, and hella loud. There is what can only be described as general pandemonium. Adrenaline pumps, you need to self-medicate. It’s certainly not pretty but, by Zeus, is it fucking wild. And thankfully, 16-odd-thousand others are right there with you. In the thick of it. Rumbling, tumbling, screaming, freaking.

You’re fairly certain nobody dies. A peculiar, transient fellowship develops almost instantaneously and the atmosphere that pervades is palpably one of ‘we’re in this together.’ Then its over in a flash. A blur of the thing is left making childish sketches upon the layer of red silt now squeezed in the tight space between your brain and your skull. You check yourself for structural integrity. Four limbs, twenty digits, mouth full of teeth, two eyes, a gargantuan headache and a beaming smile.

Yip, you’re all there, left to piece just the phantom images of the preceding experience into something nearing coherence as you make your way back to the safety of your home. Oppikoppi makes itself known with a punch to the solar plexus, the fucker doesn’t back down. To come away unscathed means you didn’t do it properly.

Here are some scenes that, since that fateful weekend, well up in the deep of the night, fever-dreams from the beast as it taunts my sleep, letting me know in no uncertain terms that I was actually there:

- A deep rumbling WubbityWub that heralds the rampant viral infection of dubstep in seemingly all electronic genres, barring Zakes Bantwini’s intriguing afro-house.

- Dan Patlansky doing voodoo on a Fender, raising spirits and bewitching the attendant crowd.

- The Used being cussed out by 10000 people for being unfashionably late by 40mins. That many people yelling ‘WHAT THE FUCK’ in unison is scary.

- A ferocious tablist, with fingers forged from some inter-dimensional spacedust, skullfucking a small horde with polyrhythms dredged up from 5000 years of tribal history. Then the same tablist throwing the Devil Horn’s unabashedly because he knows what he’s doing is just clandestine Heavy Metal. - Yolandi Vi$$er telling a black stage manager – ‘Nigger, get the fuck off my stage’ – before busting into Rich Bitch. Cringeworthy!

- Artist quote of festival, by frontman of newbie rockers Saintfearless (I think): “We have CDs available, wanna take us home without anybody moaning.

“- I learnt from a stranger that people grow weed hydroponically in Antarctica. This is not a joke.

- Epic fail of the weekend: Singer proclaiming that South Africa has the best women in the country. – Lark slay. Inge transmogrifies on stage into an electrical storm of staggering proportions. The Rez looks overjoyed to be back in the fray on local soil. Here’s hoping he sticks around a while.

- By Friday evening I’ve heard the call and response of ‘Oppi?’ ‘KOPPI!!!’ far too many times. Tons of people clearly never quite assimilate the fact that they are actually at the festival and need constant reminding. - Fuck Standard Bank and their insidious money-less card scheme profiteering. Cash is king, bitches! Naturally, I could go on but the above is at least a taste of the delicious hedonism that occurs out there in the sticks. And it happens every year, has been for 17 years and will continue to do so until the poles burst apart and we all get flung into the cosmic rays and incinerate gleefully.

It was my first Oppikoppi. I will absolutely be back there, amongst the thorns and the Afrikaans and the swirling dust-madness.

Review: Unknown Brother

GIG REVIEW: The Arrows at Zula Bar By Rachel Briant

The Arrows at Zula Bar By Rachel Briant

Pamela De Menezes & Christie Desfontaine- Just a couple of chicks kicking ass
By the time we arrive the room is pretty much full to the doors and I immediately realise this night is going to be more raucous than I expected.As we get closer and closer to the front I catch my first glimpse of the dynamite duo: Pamela De Menezes is sporting a bowl cut hairdo, complete with glam 80’s frock top, while Christie Desfontaine wears an Adidas onesie, her long hair swishing as she gives those drums a good and proper beating.

It’s hard to place The Arrows sound cosily into an existing music genre, but they definitely possess a certain element of girl power and rebellion, meaning that if you didn’t know better you wouldn’t guess how religious both Pamela and Christie really are.

The Arrows indie flavour is infused with an entire array of different sounds, but I don’t think they can possibly go wrong with this crowd, I find myself thinking. Most of the audience members seem to know the words to every one of their songs, and I find myself fearing for the mortality of my hearing.

‘This song is about when you see all those 16 year olds meeting the love of their life while we’re busy trying so hard here! Know what I’m talking about?’ The song that follows, titled ‘I’m gonna find me a man’ leaves me speechless. It sounds to me like nothing more than a country western spoof, complete with tambourine accompaniment. Nevertheless the crowd cheers loudly, even clapping along in time to the beat.

Pamela is like the ringleader to this circus, mincing around the stage as she belts out the words to yet another electric song. I hear streaks of punk, electronic, futuristic, indie, rock – even game-show jingle.

I have to note that Christie plays the drum-kit with her teeth bared, plus a delicious scowl. Meanwhile bowl-head Pamela knows how to tap a trendy keyboard section whilst powerfully expressing female angst through vocals.Both girls possess a cutesy yet deadly demeanour and chatter along like a pair of stand-up comics between songs.

These uninhibited musicians follow few musical rules, but all in all the effect is catchy tunes combined with a great raw garage sound that speaks of pure energy: A mix of crash-bang-boom and melodic lyrics.

The Arrows possess the killer recipe of a bit of flirt, a bit of flair and a bit of skirt.So how could they possibly fail to continue making waves in the music scene, both nationally and internationally?

REVIEW: Rachel Briant

IMAGES: Julan Briant

Album Review: Arctic Monkeys – Suck it and See [3/5]

Vocalist Alex Turner is most definitely the centrepiece of this group and remained the locus of the lion’s share of my attention throughout a couple rotations of this, their fourth record. His contribution to the fray, both lyrically and in terms of his delivery, is attention-grabbing in ways that the music simply couldn’t match. Turner’s keen eye for the ironic and deft hand at spinning unique turns of phrase often had me zoning out of the ruckus of the instrumentation and listening singularly to his lyrics. That’s not to say that the music itself is unaccomplished. There are supple grooves spanning the recording, the drum work and bass lines find their feet comfortably and are on occasions exceptional. The guitars jangle a bit much for my sensibilities, the Britpop edge being a little overwrought. However, sometimes a melodic line breaks free and soars over and above everything else, shimmering proudly. Overall, not sure I’ll be coming back to this album all too often except perhaps to remind myself of particularly memorable phrases crooned out by Mr Alex Turner.

Album Review: Laurie Levine [4/5]

I knew nothing of this lady prior to playing the record. I was struck by its maturity and soulful tone, its unfolding melodies and the exquisite innocence in the timbre of Levine’s voice. Inspired seemingly entirely by the grand country & western voicing made famous by the output from Nashville, Tennessee – the songs pluck at the heartstrings without falling foul of the dreaded schmaltz. There are moments that had me transported into vivid landscapes – the violin lines and banjo picking along with magic Telecaster tones all placing me in expansive mental wildernesses, feeling slap bang in cinematic denouements, probably atop a stallion and packing a six shooter. Finding out that this is straight outta South Africa was something of an incongruous revelation and for a couple listens it felt somewhat disingenuous until I slapped my senses and just reveled in the textures, without a locale in mind. In that headspace, Six Winters is a startling accomplishment – impeccable production, sweeping song-writing and an often sublime capability to transport the listener. This coming from a veteran of the metal scene communicates buckets. Take a listen, people!

Album Review: Zim Ngqawana – Zimology [5/5]

Zim’s passing was a massive blow. He was arguably the most important contemporary figure in South African Jazz. The loss of a great artist like Mr. Ngqawana is twofold – first one laments simply the absence, the fact that a magnificent presence is no longer among us; secondly one mourns the fact that no new work will be produced in his signature. Anthology of Zimology Vol.1 offers brief but bright relief from the latter loss. The first of a series envisaged by Ngqawana, the music spanning ‘Anthology’s two disks is arranged to emulate the arc of a concert performance – from hushed opening to rapturous finale’. What makes the release priceless is that it reveals how key compositions like Qula, Biological Warfare and Migrant Workers – familiar from the lush, polished biomes of his studio albums – have evolved into new creatures through years of live performance. Zim is in full flight here, crackling with energy and invention. A must-have for anyone who likes their Jazz potent and bristling.

Album Review: Fink – Perfect Darkness [5/5]

I remember receiving Fink’s second album for review a few years back – it arrived along with his debut and was billed as something special, his first album already having attracted the necessary critical acclaim and creating the buzz of anticipation for his second. Released oddly on a label more aligned with electronic music, albeit very left of centre, Ninja Tunes, I’d love to be able to compare his earlier work to Perfect Darkness but unfortunately those 2 CD’s were lent out and never returned (thanks Sean). I do remember enjoying his voice thoroughly and appreciating the potential of his stark acoustic driven ballads. But I also remember getting just a little bored half way through each album. Perfect Darkness remedies everything that was lacking on those previous releases, both in musicality and songwriting. Here is a collection of 10 exquisitely crafted compositions (he’s known for his detail) that are fuller and way more accomplished from a singer/songwriter who has grown and matured considerably from a few years back. Perfect Darkness, complete with beautiful backing arrangements to compliment Fink’s guitar and voice, starts and ends perfectly with wonderful storytelling, intelligent lyrics and personal innuendos. Everything a good acoustic album should have. Fans of Yoav, Farryl Purkiss, and Laurine Levine, etc should definitely track this accomplished piece of work down.

Album Review: Bon Iver – Bon Iver [2/5]

Opener Perth wells up out of the ground like a sonic volcano; it marches along effortlessly and swamps anything in its path. It saturated my attention, even at low volumes (damn late night listening sessions with paper thin apartment walls!!), and was quite overwhelming. There is magical music here – oft chill-inducing and certainly not the kinda stuff one can easily digest in just a few listens. I did have a rough time with the incredibly layered vocals that span the recording. My housemate described it as saccharine and he nailed it. The album is 40 minutes long and it begins to feel like your sensibilities get caramelized after perhaps the fourth track. Dunno about you but I cannot take that much sweetness in one sitting. In time I could only listen to a track or two at a time and in this fashion, one can yield to Bon Iver’s divine meandering dream-like movements without feeling gorged. As a body of work though, I simply couldn’t see it as a cohesive entity due to the treacle-effect.

Album Review: Ben Harper – Give till it’s Gone [4/5]

I was quite seriously taken by Ben Harper’s sound around the time of Fight for your Mind and The Will to Live. His musical direction subsequently lost my attention and I’ve paid little mind of his output since. This disc however finds him frequenting that same headspace that had me swept up back in the day. Harper sounds energised and full of inspiration for whatever reason and it translates deftly into stunning tracks like I Will Not Be Broken and Don’t Give Up On Me Now. Elsewhere on the album sees Harper turning up the distortion and invoking Rock n Roll behemoth that strides, bucks and brawls with a fine swagger. Funnily, the biggest disappointment is a tune called Rock n Roll is Free, it just sounding like a self-conscious attempt to evoke a 60s-like camaraderie in the audience when it inevitably gets punted live. One thing’s for certain, Ben Harper knows how the hell to write a great song, knows how to wrangle an effortless array of sounds from his instruments and surrounds himself with peeps that play the hell out of their respective instrument – see the rollicking jam that is Get There From Here as proof.

Album Review: Shadowclub – Guns & Money [4/5]

So here I am reading Eliza Day’s column on Pg 6 – the word document she sent me is called ‘Bored,’ as the subject matter, if you have not yet read it, is about how boring the local live band scene has become and how there are no new and exciting bands out there, everybody seemingly settling to want to sound like someone else. I’ll need to give her a heads up then on Shadowclub. Big White Stripes fans, the trio decided to record their album in 12 days but did it in 9 which is fine if you’re Jack White and Co. with that M.O already, but for a local band not that well known we could all just laugh it off and say “yeah well it sounds like it!” But it doesn’t. Guns and Money is a very, very good debut album and whilst White Stripes fans will appreciate their bluesy ‘purposely fuss free’ rock ‘n roll as they call it, the 3-piece are no copycats exuding an authenticity that combines distorted guitars and often equally distorted vocals to deliver a fine collection of 12 very well penned songs. Musically adept and with a vocalist [Jacques Moolman] who can really use his pipes, Shadowclub have produced an accomplished debut release that for my money is easily the freshest thing I’ve heard from an SA band for now.

Album Review: Gorillaz – The Fall [2/5]

It’s readily apparent that Damon Albarn is in many respects a musical genius. His work with Blur and previous Gorillaz outings is testament to this. The Fall, however, comes across as an anomaly in the body of work. Recorded primarily using applica-tions on the iPad and finding its way into the world due to the boredom of touring, it feels somewhat flat for the most part. An exercise in keeping oneself entertained while stricken by the unfortunate rigours of life as a hugely successful musician. Trent Reznor of Nine Inch Nails did the same thing with Year Zero, yet that record bristles with inspiration and a feeling that the confinement involved nourished the artist while here one senses the barren nature of what the creator endured during its creation. There are highlights: The Snake in Dallas and Amarillo are both tremendously evocative and remain somehow imbued with the ambience of extensive travel. In short, The Fall feels like an experiment and one that needn’t have left the confines of the mobile recording studio as it neither adds substance to the Gorillaz catalogue nor does it stand up to repeated listens.

Album Review: Ashtray Electric – Measured in Falls [2/5]

So the album cover of this recording is supposedly the DNA sequences of the members, a neat idea but one that unfortunately belies the contents of the recording. I found there to be little in the music as unique as something like a DNA sequence. I honestly dislike being derogatory about local music because I really do want native product to flourish. However, I couldn’t help but feel something paint-by-numbers about this music. Safe would be an unfortunately apt word to describe what I hear all over Measured in Falls. The biggest struggle in my attempts to find an access point into the record comes in with the vocal delivery. There is something awkwardly dispassionate going on here and a persistent faux-gravitas that I found brick-walled any burgeoning interest in the tunes. On occasions the vocalist seems to forget himself and strikes out with abandon and then it rocks. These moments are unfortunately fleeting. Thankfully though, my opinion matters a precious little as its evident Ashtray Electric have found a fervent audience in SA and are successful in their own right so if you’re a fan please ignore me and find out for yourself.

Album Review: Jesse Clegg – Life on Mars

I wasn’t a huge fan of Clegg Jnr’s 2008 debut, When I Wake Up. Although, considering it generated five singles, clearly I’m in the minority. His debut couldn’t decide if it was a pop or a rock album, the lyrics underwhelmed, and the tentativeness was palpable. Life on Mars is sonically, thematically and lyrically in a different universe to its predecessor. It’s undoubtedly a rock album, there’s a newfound maturity to the lyrics, and while it wears its influences on its sleeve Clegg’s confidence in his own abilities as a songwriter and lyricist elevates this release above much of the generic cock rock that may have influenced it. The album was produced by David Bottrill (Muse, Placebo, Silverchair, Staind, Tool) and mastered by Bob Ludwig (Bowie, Hendrix, Rolling Stones, Nirvana) which no doubt goes someway to explaining the album’s hard rock sound, and the fact that’s it’s being called one of the most expensive local albums ever. Clegg also deserves kudos for the innovative packaging – there’s a unique card for each track that can be displayed as the cover. Flash aside, this time Clegg has proved he’s an artist to watch.

To read more about Jesse Clegg click here

Rating : 4/5 – Rocking

Reviewed By : Craig Wilson

Album Review: Taxi Violence – Long Way from Home

For all us lovers of straight up rock ‘n roll Taxi Violence smashed onto the scene as a breath of fresh raw exuberance without the need for any fancy ‘post’ this, or ‘neo’ that or cute little words like ‘alt’ or ‘indie’ necessary to define them. The result is that after seven years together their sound is still a timeless ode to what they do best… rocking out! So don’t be misled by the cute suggestions of an unplugged album. Okay for Taxi Violence this may be unplugged but to the uninitiated hearing them for the first time, Long Way From Home should simply be received as a damn fine and extremely wholesome rock offering. Sure the guitars are not as thrashy as we’ve come to know from the quartet and things have got a little calmer along the way. But it’s still rock ‘n roll and I love it. A little mellower, definitely more assured and entirely better produced, TV prove once and for all – they write damn fine songs. It’s their best effort to date and includes three new compositions too but even if you own their previous releases, grab this baby. It’s a keeper.

To read more about Taxi Violence click here.

Rating : 4/5 – Rocking

Reviewed By : Dave Mac

Album Review: The Kills – Blood Pressures

This, the fourth album from the chain-smoking, leather-clad duo is perhaps their best. One of the things I love about The Kills is that I said something similar about their last album. It’s been three long years since they released anything, but good God it’s been worth the wait. There’s the usual grittiness and sleaze and sex and swagger and sweat you’d expect of them, but their ongoing experimentation with drum tracks, live instrumentation, multipart harmonies, a choir, and a little bit of sampling is all evidence of a band uninterested in excessive reminiscing. The sexual tension is no less palpable on this release than its predecessors, but rather than being the teenage-pent-up-frustration variety, it’s the consenting-adults-looking-to-get-filthy-sort. VV handles most of the vocals on this outing and positively oozes insouciance – she sounds like she’d do gloriously sordid things to you, and you’d like it. Understandably, with three albums under their belts, the duo sound more confident than ever, and so they should: Blood Pressures is a simply fantastic album. Hopefully it won’t be another three years before the next one.

To read more about The Kills new album click here.

Rating : 5/5 – Demi-God

Reviewed By : Craig Wilson

Album Review: The Graeme Watkins Project – Corridors of the Mind

When I received this album the name Graeme Watkins was a mystery to me. This may be my lot for not watching a single minute of the well-trodden Idols talent show, and avoiding radio shows dealing with anything associated with it. Or is it in fact my blessing? Not having to sit through atrocious audition episodes (which, let’s face it , is probably why most people do so, for a laugh, then get invested in a favourite and spend hundreds sms-ing for them…). Yeah, it’s a blessing! So, apparently Graeme was the 2009 season runner-up. One would expect a singer coming from a show like this to opt for the crooning pop star persona with songs penned by the record company’s regular radio-savvy writers. Instead, Graeme cracks out with a rock band, throwing original songs out there that someone who enjoys the lighter side of Zebra and Giraffe could easily listen to. Many of the tracks do give you that ‘very familiar feeling’, but where anti-Idols die-hards would normally dismiss someone like this, with Graeme and his band they can actually give them a chance.

Rating : 3/5 – Pretty Cool

Reviewed By : Paul Blom

Album Review: Panic! At The Disco – Vices & Virtues

After The Killers conquered the world, a multitude of bands in that style emerged. The same can be said for Fall Out Boy and traces of their accessible semi-Punk Rock-Pop fusion infiltrating the psyche of new bands. It is with no surprise then that I discovered that FOB are in fact considered mentors to Panic! In the greater scheme of things, Panic! At The Disco is a relatively new band, releasing their debut album A Fever You Can’t Sweat Out in 2005 to great sales, chart positions and some awards. The batch of songs on this, their third album display their current direction (after trimming some members) with a rich blend of innovative Pop-Rock explorations, that Baroque-Pop flamboyance very much a presence. Some songs feel a bit more lacklustre than others, the formulaic expectancy unavoidable, but foil you with catchy tunes and idiosyncrasies, like a range of semi-experimental and unexpected instrumentation being incorporated, mainly as intros or breaks, which include (in addition to strings) accordion, kalimba and lullaby music-box sounds. Lined up beside some of the commercial terrors listeners are subjected to, Panic! is definitely the better option.

To see an interview with Panic! At The Disco click here.

Rating : 3/5 - Pretty Cool

Reviewed By : Paul Blom

Album Review: Mastodon – Live At The Aragon

Having been impressed with this power act’s Blood Mountain album, I was quite excited when this one came along. Besides the dozen explosive live tracks, you also get the super-bonus of the full concert and Crack The Skye: The Movie on DVD. Crack The Skye (the visuals featuring as live rear-projection) spans almost an hour, offering up a far-out narrative visual trip with their musical backing via 7 chapters. The movie combines modern visual effects with an old-school early-1900s style in the vein of Maciste In Hell and Metropolis. A cosmic journey has a wheelchair bound invalid embark on an out of body experience, while a mystical figure battling evil brings it all together. Besides the prog-rock leanings and technical intensity, what also sets them apart is the diverse vocal sharing between drummer, guitarist and bassist. The fusion of modern Metal with old-school sensibilities is an irresistible proposition for lovers of the genre, and even if you don’t put stock into what Rolling Stone Magazine has to say, there is certainly a little truth in their claim that Mastodon is “the greatest Metal band of their generation…” Had Pink Floyd been a Metal band, they may well have sounded like Mastodon.

Rating : 5/5 – Demi-God

Reviewed By : Paul Blom

Album Review: R.E.M. – Collapse into Now

R.E.M. has that ability to produce radio-friendly pop-rock, but still maintain an indie tinge which can appeal to some on that end of the spectrum. With a far more intellectual approach to their music than the basic frivolities of what has become the commercial music industry, this band is always a viable option. The album however does not produce instant anthems like that of Losing My Religion, Man On The Moon, Radio Song, The One I Love, or the song that got used over the weekend of 21 May (with the failed Rapture prophecy) on American news cable channels, It’s The End Of The World As We Know It (And I Feel Fine). As is so often the case, a band is identified by its vocalist and after pondering this in the light of Michael Stipe, along with a similar scenario as Pearl Jam’s Eddie Vedder being the recognizable figure (the rest of the band could pass you in the street and you wouldn’t know), I spotted that Vedder actually features on the song It Happened Today (!). Now a 3-piece with session musicians and guests, the essence of R.E.M. is still fully intact after 3 decades.

Rating : 3/5 – Pretty Cool

Reviewed By : Paul Blom

Album Review: Green Day – Awesome As F**k

The fact that the word “awesome” has become as over-used as “bling” I won’t get into right now…The crown princes of commercial rebellion have plied their trade for over twenty years, and about seven years into it made a big splash with their major label debut in ’94. Underground experts can give you lengthy rundowns on who Green Day has borrowed from, but their influence has proven to be undeniable with an army of imitations flowing from every suburb around the globe in return. The 17 songs were recorded live on tour across various venues from England, Scotland, Ireland, Austria and Germany, to Canada, across the USA, and Australia, featuring favourites from the Dookie, Nimrod, Warning, American Idiot, and 21st Century Breakdown albums (and their first 2 indie efforts), like American Idiot, Know Your Enemy, Holiday, When I Come Around, and Wake Me Up When September Ends. There’s no denying the energy they exude on stage (with enough jumping to give Wynand Myburgh a run for his money). To bulk up the 3-piece sound in the live arena an extra three musicians are pulled in with extra guitar, backing vocals, piano, even saxophone. A DVD addition shot in Japan adds the visual impact and features as many tracks, with a few set-list alterations to the CD (like a cover of The Who’s My Generation).

To view more on Green Day’s new Album “Awesome as F**K” click here

Rating : 4/5 – Rocking

Reviewed By : Paul Blom

Album Review: Royal Bangs – Flux Outside

This Knoxville three-piece has a pleasant disregard for the notion of genre, having tried to include as many of them as possible on this, their third album. It’s their first album since signing to Glassnote Records (home to Mumford & Sons, Phoenix and Two Door Cinema Club) and was produced by Dave Fridmann (Mercury Rev, Flaming Lips, Mogwai). Flux Outside is an incredibly busy album, and it sounds like every instrument is at the same volume level, resulting in a texture not dissimilar to that of a My Bloody Valentine album, albeit with far more easily discernible lyrics. If anything, this album is so full of ideas and riffs that it could have been split over two albums. Its rock, but not in the traditional four-instruments-and-a-singer sense. It’s more like a soundscape, peppered with great riffs and surprisingly memorable choruses. Royal Bangs are undoubtedly a band on the rise, and I can’t wait to see what their next album has to offer. Letterman loves them, and I suspect you might too.

To View more about Royal Bangs new album “Flux Outside” click here

war_bells from brandon blommaert on Vimeo.

Rating : 4/5 Rocking

Reviewed By : Craig Wilson

Album Review: City of Heroes – The Great Unknown

Following the lead of popular Punk slanted Rock bands like My Chemical Romance, local band City Of Heroes have sculpted their style along the parameters of those acts, and do it well. The catchy, melodic, positive and powerful-when-need-to-be tunes hold up alongside similar international exports (but may become a point of criticism from serious fans of the bigger established acts for following those trends). Like so many new talented young bands, City Of Heroes tackled their project full force with all the DIY capabilities at their disposal, from using their own recording studio, to the members’ graphic design background utilized to execute the album cover and web site’s look. As an introduction to those oblivious to their existence (like myself), they included a DVD with this debut album release, featuring background on how they got started, their objective, acoustic sessions, and features two of their music videos.

To view more about City of heroes click here.

Rating : 3/5 Pretty Cool

Reviewed By : Paul Blom

Album Review: Jessica Lea Mayfield – Tell Me

If she’s good enough for Pitchfork it’s good enough for us. And if you haven’t heard of Pitchfork then don’t bother! A brilliant album by this neo-country singer.

Late on a chilly autumn evening I popped in the CD of one Jessica Lea Mayfield, a little known singer (well, to me anyway) from Kent, Ohio. The album had lay amidst a pile of other unopened discs for about a month. But that fateful evening I peered curiously at the cute little country gal staring back with those big endearing eyes and it was time to discover something special. From the opening chord of ‘I’ll Be The One That You Want Someday,’ Mayfield’s songwriting, story-telling and gorgeously simple melodies had me transfixed. I played the album from start to end twice before committing it to iPod and then re-listening to it again in bed. So by now you may have guessed… I really, really like this album. Mayfield’s style is a mix of alt-country and folk rock – okay so that’s probably nothing new but for all of her 22 odd years young she writes extremely personal, dark songs. The compositions are quite simple and stripped down and therein is the real beauty of ‘Tell Me.’ With an accomplished band backing her and the productions skills of Dan Auerbach (The Black Keys) ‘Tell Me’ is a wonderfully absorbing album from this intriguing young singer/songwriter.

Rating : 5/5 – Demi-God

Reviewed By : Dave Mac

Album Review: Aloe Blacc – Good Things

Released in 2010 Good Things is something of a sleeper as it has gained traction and no wonder. It’s a soulful, funk infused excursion that owes a lot to the seventies with strong songs and what a voice!!!

Aloe Blacc’s is an interesting story. Born Nathaniel Dawkins III, he started his musical career as a hip hop artist. In fact he still is one – along with DJ Exile they call themselves Emanon but with his single, ‘I Need A Dollar,’[from his second solo album – Good Things] blowing up in recession hit America, I’m not sure how much time he’ll have for the rap thing. You see Aloe decided to explore his soul roots and thus a soul superstar was born. Stones Throw records have released some stellar albums in their time but this one is right up there with their best. Blacc’s songs are a curious mix of bluesy soul and funk and each composition is quite different, yet the album sustains a wonderfully cohesive bond throughout brought on by 2 key elements; Aloe Blacc can really sing [in a Bill Withers kinda way] and the compositions, albeit quite straight up 70’s soul/funk in many ways, all have some subtly clever arrangements to make it a well timed release and a very good one at that.

Rating : 4/5 – Rocking

Reviewed By : Dave Mac

Album Review: The Blackout – Hope

Southern Welsh post-hardcore band tries the crossover appeal thing. But does it work?

On this, their third album, The Blackout will is comfortably wedged into their powerful (but accessible) sound, definitely set to satisfy fans who like their brand of hard-edged rock in the category of (fellow Welshmen) Lostprophets. They comply on most of the levels one would expect, from the good production and competent instrumentation, to the expected vocal delivery.

Although, the dual vocal team (one clean, the other screaming) has become a recipe many can tire of, feeling the schizo duality of pretty pop vocals and hardcore throat shredding should be separate entities altogether. Is it pop music pretending to be heavy, or vice versa?

But, what you get is a listenable album that may speak more to you if you’re in the environment of a college dorm.

Rating : 3 / 5 – Average

Reviewed By : Paul Blom

Album Review: Wolf People – Steeple

English band Wolf People bang out a real 70’s psychedelic offering that does have appeal. From the same label that introduced us to Black Mountain it’s an interesting mix and certainly worth taking note off….

If you like your rock ‘n roll heavily dosed up with 60’s and early 70’s psychedelica in a totally retro kinda way then look no further than Wolf People. ‘Steeple’ is their debut album and the band unashamedly tribute this bygone era with a strong album of folkish metal rock complete with flutes, organs and all those other hippyish sounding instruments – but it works and works well. Their record label, Jagjaguwar also hosts Black Mountain and dare I say it, there’s a trend developing here; a modern take on a bygone sound with a new and interesting twist. Both bands seems heavily influenced by the 60’s and 70’s with a definite tip off the hat to Black Sabbath somewhere in there too. But there is nothing that screams imitation about ‘Steeple.’ It sounds like it was meant to be with original compositions that hold one’s interest throughout. The band is tight and move effortlessly through their songs and although they clearly are locked in the 70’s, it’s a strangely original offering that results from the 9 tracker, as they tread wilfully between revivalism and a sound that indeed is timeless.

Rating : 3/5 – Pretty Cool

Reviewed By : Damien Albetto

Album Review: Anna Calvi

Announced as a nominee for BBC’s Sound of 2011, this English indie rock chick serves up her self-titled debut to critical acclaim. What’s the fuss we ask?

If judging by this album cover many may expect Anna Calvi to be in the company of someone like Jessie J, but you couldn’t be more wrong. This is totally unrelated and superior in almost every way. Having never heard of her, Anna’s self-titled album is an absolutely welcome breath of fresh air. The opening sleazy Blues guitar instrumental sets the scene for a very fulfilling listening experience. Her vocals can be subtle and fragile or powerfully commanding, her musical prowess also including guitar, piano, bass, violin and organ. With moods that could easily place some of her songs in a David Lynch film, the dark and sexy feel also diverts into more rock oriented territory, the album’s defiance to stick to one single style simply making it that much more enjoyable.

This album can very easily be started from the beginning all over again as soon as the last track finishes.

An amazing match would be a live double bill of Anna Calvi and Nick Cave (which I discovered indeed happened with her supporting his Grinderman project!).

If you’re suffering from PJ Harvey cold turkey, Anna Calvi will more than suffice as your fix (it’s no surprise then that most of the tracks were co-produced by Harvey collaborator Rob Ellis).

Rating : 5 / 5 – Demi-God
Reviewed By : - Paul Blom

Album Review: Warpaint – The Fool

A band definitely worthy of being on our best new bands list, Warpaint is an LA based quartet best described as art-rock meets psychedelia and should certainly get all the indie trainspotters scrambling for cooler than thou brownie points with this one in their collection.

LA based quartet, Warpaint released this, their first full length album on Rough Trade late last year and it’s taken a while to kinda catch on and gather stream. They’ve received some very good press from music critics and both Flea and Anthony Kiedis (Red Hot Chili Peppers) have hailed them as one of LA’s most promising bands to emerge in recent years. So heady praise aside how is the album? Categorised as art rock I’d have to say that ‘The Fool’ certainly ticks all the boxes of said genre pretty well. The combined vocals of Emily Kokal and Theresa Wayman are lethal as they seduce the listener with sensual, ethereal lyrics. Essentially headphone music to absorb one in their world, Warpaint are yet another band heavily influenced by a bygone era (see the Wolf People review) although with these guys they would not be too out of place as an early 90’s Goth band. But they’re no copycats and emerge as strong contenders as leaders of the pack on a growing list of exciting new bands that seem to be arising out of the ashes of a now overplayed and overdone indie era.

Rating : 4/5 – Rocking

Reviewed By : Damien Albetto

Album Review: Cee Lo Green – The Lady Killer

Ah the lady killer with the lady killer voice. Cheesy 50’s style hit single aside there is no denying Cee Lo’s amazing voice and sense of humour…

Cee Lo Green can sing and sing really, really well. And he knows it. Most buyers of this album will probably be drawn to his big hit, ‘Forget You,’ – re-done again at the end of the album as a bonus track called ‘F**k You,’ – same tune, different lyrics and it’s really this second take on the song that reminds us that Cee Lo does not take himself too seriously. This is in fact where the charm lies on ‘The Lady Killer;’ on the surface you could dismiss the album as pop schmaltz with a heavy 50’s doo-wop influence at times or you can recognise it for what it really is; a well constructed and fun pop album on which he shows of his immense vocal register with aplomb. What ‘The Lady Killer’ may lack in the dirty funk department – it’s essentially a very smooth, palatable pop record – it makes up for with Cee Lo’s crazy quirky self and this is what makes it a fun and charming listen. So if you don’t take yourself too seriously – or your music that is – then this is a fine album to bop along too with just enough pop sensibility wrapped up in his usual quirky self.